[00:00:42] Speaker A: Step right up. It's nailed a halo by Halo journey through the music of Nine Inch Nails. I'm Blake.
[00:00:47] Speaker B: I'm Jessica.
[00:00:48] Speaker A: And I'm being more energetic, I've decided I can't start this with low energy.
[00:00:55] Speaker B: Yeah.
[00:00:55] Speaker A: Who's going to want to listen?
[00:00:56] Speaker B: Can't be low energy. Blake.
[00:00:58] Speaker A: Low energy failing. Blake.
This is with teeth part three.
Did I get that right?
[00:01:05] Speaker B: That's right.
[00:01:06] Speaker A: And we're doing talking about only getting smaller. See if we can do this off the top of our head. Sunspots home. That's it.
[00:01:18] Speaker B: That's it.
[00:01:18] Speaker A: Right in this edition, we do home in this house. We do home because we are trying to do a more comprehensive study of the album that includes the song you could only get on the vinyl or as I just learned, the Japanese or UK versions of the CD had it as a bonus track.
Or if you have the hand that feeds ten inch picture disc it's on that too.
[00:01:52] Speaker B: Yes.
[00:01:53] Speaker A: Anyway, those are the four songs. This is a nice crop of songs.
One of them is a single with its own Halo only. So we won't go in depth on Only. On this episode we'll focus on the other three and go in depth on halo.
20.
[00:02:13] Speaker B: Yes.
[00:02:14] Speaker A: For Only. Just trying to think what number it was.
Now that we're getting higher up, I'm going to lose count of these halos really easily.
[00:02:23] Speaker B: Up saying we're going to venture into past 20.
[00:02:25] Speaker A: I don't know what the hell is what I have memorized up to like 18.
Do we have any nine inch news?
[00:02:34] Speaker B: No, I don't think so. I just wanted you to play the little stinger.
[00:02:37] Speaker A: I can hang on stinger.
[00:02:40] Speaker B: Get it?
[00:02:41] Speaker C: So everything is in the news today.
[00:02:45] Speaker A: Jess said she wanted me to play the nine inch news stinger, which was a funny pun she made because I think this is the only news we have and it's pretty minor news.
[00:02:57] Speaker B: It's very non news.
[00:02:58] Speaker A: Not news at all.
But news item.
I'm trying to make more puns. Should we get down to beesiness?
There was a trailer for some movie about a beekeeper I keep in my mind.
[00:03:12] Speaker B: Jason Statham movie.
[00:03:14] Speaker A: It is jason Statham action movie. In my mind I'm imagining Kevin James being in a beekeeper's uniform. That would be a funnier movie.
Anyway, the trailer has version let's call it a version of Head like a hole.
So yeah, head like a hole. Back in the popular consciousness, I guess.
[00:03:40] Speaker B: Beekeeper beekeeper makes me think. I mean, I know nothing about this movie or the plot at all. Nothing about the premise.
[00:03:48] Speaker A: I think it's about a beekeeper who kicks ass.
[00:03:50] Speaker B: The beekeeper sounds like a prestige film about yeah, I don't know.
[00:03:55] Speaker A: No, that would be called the beekeeper.
[00:03:57] Speaker B: Set on like a farm. Oh, I guess the beekeeper beekeeper's wife.
[00:04:03] Speaker A: Do you like this whole thing of we're going to take a pop song and a movie trailer and kind of symphonifies it is that a word.
We're going to make it cinematic and put Hans Zimmer's orchestra behind it and rework it.
[00:04:23] Speaker B: I mean, is this something that's done?
[00:04:25] Speaker A: Yes.
[00:04:26] Speaker B: Oh, I don't really go to a lot of movies or watch a lot of trailers, so I haven't noticed it as a trend. The last trend I noticed in movie trailers was probably, like, Inception era when everyone had that.
[00:04:39] Speaker A: Movie trailers, I don't think I like at all because they all have to be exactly the same. They just have this formula and they all do it, and it's like everyone's too afraid to venture one inch away from that.
[00:04:52] Speaker B: We saw a preview that paid, like, homage to older trailers recently.
[00:04:55] Speaker C: Okay.
[00:04:55] Speaker A: Yeah, there are exceptions that are good, but now I'm trying to think of another. Okay. I remember it was Avengers Age of Ultron, and they took the Pinocchio song, I've Got No Strings and yeah, this is how dumb it is and made it dramatic orchestral.
[00:05:17] Speaker B: Wait, for real?
[00:05:18] Speaker A: I'm fucking we're playing it. It's obscene. This is probably when I stopped liking this trend, and now it's just hard to hear. I'm not even totally sure how much I like this head. Like, a whole version. It's just because I don't like this trend.
I think it goes all the way back to Social Network.
[00:05:36] Speaker B: I was about to say the Social Network radiohead.
[00:05:39] Speaker A: Describe what that is while I find this clip.
[00:05:43] Speaker B: All I remember is it was kind of a weird trailer that had a choir singing a cover version of Creep. That was creep. I said that funny. That played a cover version of Creep or sang a cover version of Creep. And it was slow and haunting and drawn out, if I remember correctly.
[00:06:06] Speaker A: Yeah, it was like, what if Creep was like Creepier and more serious?
[00:06:11] Speaker B: I mean, we really got to get across that. Mark Zuckerberg is an asshole.
[00:06:15] Speaker A: Yeah, let's see if this is the one. There's 8000 trailers for this eight year old movie.
[00:06:24] Speaker C: You're all puppets tangled in strings.
Strings.
[00:06:41] Speaker A: It there it is.
[00:06:46] Speaker B: No.
[00:06:52] Speaker A: Why? Just why?
Why is this necessary?
[00:07:00] Speaker B: I don't know. Look, we're not a movie trailer podcast anyway. We have but that gets an F that gets no inches.
[00:07:07] Speaker A: Two thumbs down, zero inches. We'll have to get back on topic before people tune off. All right, turn off, tune off, tune.
[00:07:16] Speaker B: Out, turn on, turn off.
[00:07:19] Speaker A: Right.
Okay. That's nine inch news, I guess.
What's the first thing we have to.
[00:07:35] Speaker B: Talk about Only, but we're going to save the deep research, so only, I thought we could just jam out for a second.
[00:07:42] Speaker A: Let's listen to Only and give our can we give our first initial reactions?
[00:07:48] Speaker B: I mean, I guess I mean, I've heard this song.
[00:07:51] Speaker A: Yeah, I know we've heard it before, but I just want us to give some initial takes before we do the deep dive to wet people's whistle. Okay here's only.
I do love these drums.
[00:08:07] Speaker B: I do. And my first thought is thank God. With teeth is over.
[00:08:12] Speaker A: Our long national nightmare is over.
I do love that for tinkly piano playing by Trent. This is definitely Nine Inch Nails and the extremely dirty bass which I think is on every single song of With Teeth.
Some more of it.
[00:08:45] Speaker C: I'm becoming less defined as days go by fading away well, you might say I'm losing focus kind of drifting into the abstract.
[00:08:58] Speaker A: So he's rapping again. He is sing, talking, sing, talking.
[00:09:02] Speaker B: Yeah.
[00:09:04] Speaker A: It doesn't really sound like rapping to me. It's just more like that's definitely singing right there.
Mixture of singing, talk but little bit throwback to down in it about fitting.
[00:09:17] Speaker C: Into the world, your world that is really matter.
[00:09:28] Speaker B: Love that.
[00:09:29] Speaker A: That is probably the coolest sense in the song.
[00:09:36] Speaker C: You.
[00:09:53] Speaker A: Trent vocal effects where his voice is going all over the place, affected in different ways.
I like how this verse is really long.
[00:10:05] Speaker B: It's really long.
[00:10:08] Speaker A: It takes a while to get to that abnormal. Yeah. And that's on purpose. I'm sure they make you wait for it.
[00:10:15] Speaker C: Yes it did. Woo.
[00:10:17] Speaker A: Yes it did.
[00:10:19] Speaker C: There is only me there is no you.
[00:10:23] Speaker A: Do you like that funky little guitar on the right?
[00:10:25] Speaker C: There is no fucking yo. There is only me there is no fucking yo.
[00:10:31] Speaker A: Did you ever hear the radio cut of this? Where they have to take out all.
[00:10:36] Speaker B: The I have not actually.
[00:10:38] Speaker A: It's kind of awkward. Okay, I should just play it. I'll play the chorus of it after this.
It we're going to hear Tambourine, I think.
[00:10:51] Speaker B: Yes, start.
[00:10:53] Speaker A: There it is. Tambourine is also something that's in nearly every song on this album.
[00:11:00] Speaker B: And when he says the tiniest little dot caught my eye down in it.
[00:11:03] Speaker A: Fans are like, right, they're pointing at the dot.
[00:11:09] Speaker C: Shut.
Now I'm somewhere I'm not supposed to be and I could be things I know I really thought and say and now I know why now I know why things are as pretty only inside.
[00:11:31] Speaker A: Like this Snare roll coming up here.
[00:11:34] Speaker C: There is now yellow, there is only me there is a fucking yellow there is only me.
[00:11:47] Speaker A: I like the squealing guitar going nuts too.
Song's really simple in a way. In some ways you also this is another one that's just what's first chorus, first chorus, but it's really long. Verse, chorus, then a shorter, more normal length verse, chorus again. And then it ends and it fades.
[00:12:26] Speaker B: It's a fade out.
[00:12:27] Speaker A: It's a fade and a sort of fade into getting smaller. But there's a bunch on this album that are verse, chorus, verse, chorus and outro type thing.
[00:12:39] Speaker B: He was like, let's just make a rock record, guys. Get in, get out.
[00:12:42] Speaker A: It's a simple structure album. But I like how he does make it more interesting with things like an abnormally long verse that makes you wait.
[00:12:53] Speaker B: For it or really weird synth sounds or whatever.
[00:12:58] Speaker A: Let's see if I can find the censored cut with Teeth kids BOP.
[00:13:05] Speaker B: Has there ever been a Nine Inch Nails kids BOP track?
[00:13:07] Speaker A: No, surely not.
[00:13:08] Speaker B: I want kids BOP to do closer. They can sing I Want to Love You like an animal like Maxwell did on his cover.
[00:13:14] Speaker A: Oh, my God.
Radio edit clean.
[00:13:22] Speaker C: Yes, it did.
There is no yell. There is only me. There is no you, there is only me. There is up.
[00:13:39] Speaker A: You only hear the king.
There is no king you.
[00:13:44] Speaker B: There's no way I would king I would ever figure out what he's saying there if I heard that on the radio, right? No way.
[00:13:49] Speaker A: I do remember hearing that one on the radio.
[00:13:52] Speaker B: Maybe he was saying ducking.
[00:13:56] Speaker A: He predicted the iPhone.
Yeah, I remember them playing. When they finally were done playing in The Hand That Feeds, they played only maybe not quite as often on the local butt rock channel.
Cockrock. You could probably call it both things.
[00:14:15] Speaker B: I would say butt rock because eventually, like, the alternative stations started playing all that post grunge crap and new metal.
[00:14:23] Speaker A: They very much were at the time.
So that's only but we'll get into it more later.
[00:14:33] Speaker B: Do you want to talk about getting smaller?
[00:14:35] Speaker A: Yes.
[00:14:36] Speaker B: Okay.
I don't really have a lot and I feel really bad.
[00:14:40] Speaker A: It's okay.
[00:14:40] Speaker B: There's not a lot out there about these songs.
Drums. Grohl provided the drums for getting smaller. This track was leaked in 2005. Along with the line begins to blur and the hand that feeds do you remember hearing this?
[00:14:54] Speaker A: I remember the leak. I think I talked about it maybe in our intro episode.
[00:14:59] Speaker B: Didn't know if you remembered hearing.
[00:15:00] Speaker A: I do. I remember getting smaller. Yeah, I remember it because I was like, holy shit. This is really, like, going way harder in a rock sense than I'm used to with Nine Inch Nails.
I thought it was pretty cool because it's just so aggressive and exciting and loud and fast. It's really fast.
[00:15:21] Speaker B: It is really fast. Would you describe it as the poppiest track on with Teeth? No, Pitchfork did.
[00:15:27] Speaker A: Pitchfork is fucking on an album with The Hand That Feeds, basically a bubblegum pop song about George Bush.
They're calling this one the Poppiest.
It's related to punk more than it is pop. I mean, it's pretty polished in a way, but, yeah, it's influenced by that punk and post punk stuff.
[00:15:51] Speaker B: Let me see if I can find the actual quote. Oh, yeah, definitely getting smaller. The record's poppiest track comes off as a faster paced cousin of Pixie's Planet of Sound with a per Ubu quote thrown in for you hipster cats.
[00:16:06] Speaker A: Hey, at least they caught that, because I didn't catch it until wait until you told me.
[00:16:11] Speaker B: There you go. Anyway, I just went through all the reviews that I had to see if anyone talked about this song because it seems like the song is a weird one.
Because of a certain lyric that people like to laugh at or make fun of. And I think it's just because of the imagery because it never really bothered me at all.
[00:16:29] Speaker A: It makes a lot of top five cringiest lyrics lists.
[00:16:33] Speaker B: But it's not even his lyric anyway.
[00:16:35] Speaker A: I know we went over that.
[00:16:37] Speaker B: I think it's a funny image. So I think that maybe that is why people are kind of, like, about it.
[00:16:43] Speaker A: All I can think is we're talking about flip flop, right? All I can think is Trent doing the Kermit the Frog. His arms are going well, yeah. Flapping back and forth.
[00:16:56] Speaker B: Can you make your arms flip flop?
[00:16:58] Speaker A: Maybe if they had no bones, I could do the kermit.
[00:17:01] Speaker B: I wish I could just you know who do a limp? Noodle.
[00:17:05] Speaker A: We just watched Stop making sense in theater. The remaster.
[00:17:10] Speaker B: Yeah. Someone can really make flippy floppy. You know what I mean?
[00:17:13] Speaker A: I mean, not only did they have the song called Making Flippy Floppy his arms flip flopped for some of those dances. His arms went nuts. They were like, he did this thing especially when he's on the big suit where his arms kind of look like wet noodles.
[00:17:30] Speaker B: Kind of reminds me of, like, those gas station figures. Or not gas station figures. But the noodle people that businesses put out front, what are they?
[00:17:39] Speaker A: The tube people? The flailing tube man?
[00:17:42] Speaker B: Yeah.
[00:17:43] Speaker A: Inflatable tube, man.
[00:17:45] Speaker B: Whatever. I don't know what you call those guys. I'm sure there's a technical name, but inflatable Tubeman, just the guy that's always outside Entertain Mart, wanting us to come by UCT.
[00:17:55] Speaker A: Maybe that's the tell us what mental image you have when the flip flop line comes up. And I bet a lot of people have the inflatable arm man or kermit.
[00:18:06] Speaker B: Or like a muppet, like a Sesame Street.
[00:18:08] Speaker A: I know some people have already said kermit.
[00:18:10] Speaker B: Jim Henson type muppet.
[00:18:13] Speaker A: Right. And we have to imagine his head on a spring in addition to that. So his body's going fucking nuts.
[00:18:20] Speaker B: Unless you heard a different lyric.
[00:18:23] Speaker A: Just had a misheard lyric.
[00:18:24] Speaker B: It was only, like, the first couple times.
[00:18:27] Speaker A: Oh, can we circle back to the love is not enough Because several of us, and I'm including me, heard wet towel on the floor.
[00:18:39] Speaker B: I believe tile.
[00:18:43] Speaker A: But I believe I heard wet towel on the floor so cold it could sting. And several of our patrons said they heard towel on the floor.
The line is just the tile on the floor, right?
Yeah, it's just the tile on the floor so cold it can sting. I heard wet towel on the floor for whatever reason, and so did a lot of us. You didn't, though.
[00:19:05] Speaker B: No, I heard something different, though, with head on a spring in this song. So I have my own misheard that I don't think anyone else has ever mentioned.
[00:19:15] Speaker A: Right. Because no one else heard it that way.
[00:19:17] Speaker B: If you put it in context, obviously, you know what it is, but the first time I heard it, I was like, what the hell? And we'll talk about it when we talk about the lyrics of the song or whenever we actually play the song. But anyway, because I didn't have a lot about this, I kind of just went through reviews and pulled out what critics said about this track.
[00:19:38] Speaker A: Okay.
[00:19:39] Speaker B: Blender said no less than country or classic rock angsty technopop turns out to be a perfectly good soundtrack for confronting middle age. As Reznor shows in his aches and painsy grumbles of the I'm starting to fade away pairing of Only and getting Smaller, he'll never stop being a therapy case, and he'll never lose his gift for making the recording studio an exquisite torture chamber.
[00:20:00] Speaker A: Who's that review from?
[00:20:02] Speaker B: It was from Blender.
[00:20:03] Speaker A: Okay.
[00:20:04] Speaker B: And then NME just wrote the Bristling getting smaller as queens of the Stone Age go with the flow is heard by Charlie Manson.
[00:20:14] Speaker A: Okay.
[00:20:15] Speaker B: I kind of hate when people write.
[00:20:17] Speaker A: Like that, but anyway, that sounds like a Pitchfork style guide type writing.
Yeah, maybe I hear the queens of the Stone Age a little bit, but not that much.
Not really.
I hear the Pixies thing more.
[00:20:34] Speaker B: Oh, definitely.
[00:20:35] Speaker A: Were you going to talk about that?
[00:20:37] Speaker B: Oh, we talked about on a bonus episode. I didn't think we were going to mention it here.
[00:20:40] Speaker A: Oh, that's right, because I was like, oh, I should have pulled that clip, but I already did.
[00:20:44] Speaker B: Anyway. Go listen to Planet of Sound by Pixies.
[00:20:47] Speaker A: Planet of sound. Maybe I'll insert a clip because I already have a clip made, so I'll drop it in later.
[00:21:02] Speaker C: I used to take you the crowd, nothing to worry about, not even trying to get out.
[00:21:10] Speaker A: Is there anything else about this?
[00:21:13] Speaker B: It was used in Tony Hawk's Project Eight.
[00:21:17] Speaker A: I did not know that.
[00:21:19] Speaker B: Well, now you do. Now you know.
[00:21:20] Speaker A: So it's their most pop punk song ever.
Tony Hawk game.
[00:21:25] Speaker B: Tony Hawk approved.
[00:21:26] Speaker A: Yeah. It is interesting that two sort of you could interpret them as midlife crisis type lyrics. Help. I'm disappearing as a person who's getting there.
[00:21:38] Speaker B: It kind of hits.
[00:21:40] Speaker A: It kind of hits. I mean, I'm not worried about how relevant I am in the media because I never was.
[00:21:46] Speaker B: I wonder every day. Every day I wake up and I keep hoping that there will be a New York Times, like, notification that's about me, but it never happens. I'm just kidding. That's a joke. I don't want to happen.
[00:22:00] Speaker A: I don't want it to be for something bad, so I don't want it.
[00:22:03] Speaker B: Do you think it would only be for something bad? What if I finally wrote a novel?
[00:22:08] Speaker A: Okay, well, yeah, maybe you'd be in the New York Times book review.
[00:22:12] Speaker B: But do you think that they would send out a notification about my book to the world?
[00:22:17] Speaker A: About books?
[00:22:18] Speaker B: No. Maybe about authors, like superstar authors like JK. Rowling or something.
[00:22:24] Speaker A: Anyway, he continued the think. I guess he had the midlife crisis for a while because, well, it wasn't that. It was only a few years later.
The song Echo Plex kind of has the same lyrical theme, but if you know, you know, we'll get there. We'll get there in a few years when we get to Dushlip.
[00:22:51] Speaker B: All right, you want to play it?
[00:22:53] Speaker A: Let's play this. MF.
This is the most rock and roll opening that NAN has ever had.
Machine gun beat from Droll. From Droll.
[00:23:12] Speaker B: From Grol, Dave Droll.
[00:23:17] Speaker C: And I don't know who to trust.
[00:23:20] Speaker A: Pretty cool little guitar line there.
[00:23:22] Speaker C: I guess I got to adjust.
I got my arms.
[00:23:28] Speaker A: There it is.
[00:23:30] Speaker B: Oh, I can totally hear my misheard lyric.
[00:23:34] Speaker A: You're going to tell us after?
[00:23:36] Speaker B: Sure. It's not that funny.
It's not as good as my body wants to say hello to you.
[00:23:44] Speaker A: Really blows up in the chorus.
That guitar line goes pretty hard.
[00:23:54] Speaker C: I just behave in your face.
I'm afraid I'm starting to fade away.
[00:24:01] Speaker A: Really cool. Phil's like roll as well.
I like this coming up.
That right there.
Tambourine just came in.
Got to have it real high.
[00:24:20] Speaker C: I'd be happy to crawl.
I think I'm losing my grab.
[00:24:24] Speaker A: More imagery about his arm coming up because we didn't get enough.
[00:24:28] Speaker C: You know, I still got my one daughter that I can be myself.
[00:24:34] Speaker A: I kind of like that line delivery, though.
[00:24:37] Speaker C: Nothing to worry about.
Not even trying to get out.
[00:24:42] Speaker A: One of pretty, like, metal guitar riffs, kind of.
[00:24:48] Speaker C: It's all the taking away.
I just behave in Bay.
[00:24:54] Speaker A: You know what we get in this song, though?
A bridge.
[00:24:59] Speaker C: Here it is.
[00:25:02] Speaker A: Change up. I like it.
[00:25:06] Speaker C: Maybe that sounds great.
[00:25:09] Speaker A: I do like how the drum beat is not straightforward. Sounds like it's going to be, but it has this off kilter kick and snare pattern right there.
Another multi trent, multi harmony.
OOH and awe. Fade up like we had in Just Like You Imagine and a few other songs. A classic, really. Rock and roll for NIN. It's a little bit different in the left, in the right. There he is.
He's doing that in only too, going back and forth. But this is way more prominent.
[00:26:26] Speaker C: Great day.
That's okay.
[00:26:31] Speaker A: I like how it ends there. That's okay. And just that's it. Good ending.
[00:26:38] Speaker B: All right. So the dumb misheard lyric was instead of I've got my head on a spring, instead I heard, I got my harem spring.
[00:26:53] Speaker A: What does that even mean?
[00:26:54] Speaker B: I don't know.
[00:26:55] Speaker A: Yeah, it doesn't make sense.
[00:26:56] Speaker B: That's what I heard the first time. Okay.
[00:26:58] Speaker A: Got my harem spring.
It's like is that like hot girl summer.
[00:27:06] Speaker B: Harem spring spinover. You and all your hot girls get together in the spring for brunch and then party up.
[00:27:13] Speaker A: Actually, let's hashtag it. That should be a thing. Harem spring.
[00:27:19] Speaker B: Yeah.
[00:27:20] Speaker A: Kind of like spring break.
[00:27:21] Speaker B: Not that interesting.
[00:27:23] Speaker A: I wish I had a harem spring, you know what I mean?
Okay. Well, if anyone else heard that, let us know. Maybe there's someone else out there.
[00:27:33] Speaker B: Yeah. Do you have any clips?
[00:27:34] Speaker A: Yes, I do.
Some more of the guitar squealing from the introduc.
It for this one. I wasn't able to get a lot of vocals tragically because I get the vocals from the five one tracks. And on this album, they usually put Trent's Dry vocal in the center speaker for most of the songs the whole way through. This song is different. For some reason, it doesn't put his vocal into the center speaker. I guess it's just a mixed decision.
It works fine. They don't put it into the center by itself until the chorus, I guess, to amp it up for effect. So I do have some good chorus vocals anyway.
[00:28:38] Speaker C: I'm just facing the crowd nothing to worry about not even trying to stand out I'm getting a smile over and smile over and smile and I have nothing to say it's all been taken away I just behave in obey I'm afraid I'm starting to fade away some.
[00:29:05] Speaker A: Really cool delay there. He goes very hard on the vote on the vocal. Take the delivery there. What do you think?
[00:29:13] Speaker B: Yeah, goes hard.
[00:29:14] Speaker A: He's just really belting it is what I'm saying.
Guitars from the chorus.
We heard something similar to that in the intro. But those that's not the main line, but those come in halfway through the chorus to augment it. Okay. Had to get that tambourine that comes in verse two.
Simple as that.
[00:29:56] Speaker B: It's amazing what a little tambo can do for a song.
[00:29:59] Speaker A: I know.
I was looking at how many songs in a row have tambourine? Nearly every song on the album. I know. The hand that feeds does not have it weirdly enough. I don't think You Know What You Are has a tambourine collector might not love is not enough every Day is exactly the same they do with teeth, I'm pretty sure. Does. Only obviously does. Getting smaller does.
[00:30:30] Speaker B: Beside you in time doesn't.
[00:30:32] Speaker A: Yeah. I think after that, maybe they don't. So maybe I exaggerated a little, but still a lot of songs do. He just loves it. What can I say?
So cool. Drone sounds on the bridge.
Love that. Like buzzing insect crescendo right up to the beekeeper.
[00:31:13] Speaker B: Should have used this.
[00:31:14] Speaker A: Oh, my God. It should have. I really like that, actually. I think this could have been used for, like, an entirely different type of song.
But it's like underneath the harmony vocal part which I couldn't get isolated, sadly.
[00:31:34] Speaker C: Okay.
[00:31:34] Speaker A: Some vocals at the end that contain a guitar. Jump Scare so this is your warning okay. I titled this jump Scare. So something is coming.
[00:31:45] Speaker C: Fading away fading away fading away fading away my world is getting smaller every day hey, and that's my world is getting smaller every day hey and that's okay every day every day.
[00:32:22] Speaker A: Yeah. Sorry if those spooked you.
[00:32:24] Speaker B: I was okay. I was prepared.
[00:32:26] Speaker C: Okay.
[00:32:26] Speaker A: That's all I have for that one.
That song is just very apparent, and.
[00:32:32] Speaker B: In your face it feels very straightforward. But there's not a lot of hidden.
[00:32:37] Speaker A: I couldn't get the drums isolated in those tracks because they aren't. But if I heard them isolated, I don't think it would bring anything to light. They're just so loud in the mix, and they speak for themselves, as do the guitar and bass parts, I think.
[00:32:54] Speaker B: Yeah. Did you want to talk about the lyrics more at all, or what you think the song is about, or do.
[00:32:58] Speaker A: You just kind of we kind of did already.
[00:33:02] Speaker B: I mean, I guess this is kind of about, like, what irrelevance as you age? I don't know. Yeah, I have that fear a lot, being a 41 year old woman.
[00:33:19] Speaker A: I think you could also put it into the Paranoid the Paranoid anxiety songs. I mean, they all are, but that category could this fit into the abandoned concept?
[00:33:36] Speaker B: Because he's talking about a little bit. There are some lyrics that make me think about bleed through and that concept as well. There's the lyric in the bridge that's like and now I can't tell the difference or know what to feel between what I've been trying too hard to see and what appears to be real.
[00:33:52] Speaker A: Yeah. Some of this stuff sounds like stuff we hear and right where it belongs, he says, they got a way of reading my mind I mean, that's quite a paranoid thought. Plus, it sounds like we're getting seeds in some of this stuff of what we're going to get into in the next album.
I think this is kind of a starting point, especially when you start to look at the unused lyrics on the big lyric poster.
This is kind of like the beginning of an era, the beginning of the Arg era, maybe, where everything becomes an alternate reality, multiple dimension game, almost, where you find hidden pieces.
[00:34:37] Speaker B: Yeah.
[00:34:38] Speaker A: But it's paranoid and it's feeling ineffectual and impotent. I mean, if your arms flip flop, you're feeling impotent. That's what that means, I think.
[00:34:50] Speaker B: Maybe your head's on a spring. You're like a jack in a box who's trapped in a little box.
[00:34:56] Speaker A: Yeah.
And I haven't got you on my side. I haven't got fucking anything. So he's lost at all.
[00:35:03] Speaker B: Do you know, my sister was, like, terrified of Jack in the Boxes?
[00:35:08] Speaker A: They were the first jump scare.
[00:35:10] Speaker B: Jackson.
[00:35:10] Speaker C: The box.
[00:35:11] Speaker B: Maybe it's Jack's in the box. What?
[00:35:13] Speaker A: They invented the Jump Scare.
[00:35:15] Speaker B: Oh, yeah. And it terrified my sister.
[00:35:18] Speaker A: They gave a generation of two year olds heart attacks.
[00:35:23] Speaker B: It's true.
The Jack In the Box my mom would torment my sister with was I think it was a little old and deformed and maybe a dog had gotten a hold of it and eaten.
I think it was a Bugs Bunny Jack in the Box and its ears were missing or something. And my mom would just take it out and slowly torment my sister. I never saw this because I wasn't born yet, but I've been told the Jack in the Box stories.
[00:35:46] Speaker A: Yeah, that sounds horrifying.
[00:35:47] Speaker B: Yeah. My family, they're great.
So live for getting smaller before we move on to Sunspots.
It made its live debut March 25, 2005, was kind of a set list rarity during the Live with Teeth tour. And according to N Nine Wiki, it has not been played since Lights in the sky tour.
[00:36:10] Speaker A: It's crazy because it seems kind of like a no brainer. Oh, this one would go so hard live.
[00:36:15] Speaker B: And it's short, like you could really cram it in.
[00:36:17] Speaker A: Yeah. And it's just, like, built for a rock band. It's really high energy.
[00:36:22] Speaker B: Really high energy. Be a way to pump up the crowd.
[00:36:25] Speaker A: So, I mean, they did play it for a while there, but I can kind of see why they didn't keep it forever. Keep it around forever.
I'll wait until we get to the live video. Live DVD.
[00:36:43] Speaker B: Okay.
[00:36:44] Speaker A: To say more.
[00:36:45] Speaker B: Okay. Sunspots.
[00:36:47] Speaker A: Sunspots.
Everyone's favorite song on with teeth.
[00:36:51] Speaker B: Apparently, though, today I learned that some people thought it was a guilty pleasure for a very long time and that no one else liked it.
[00:36:58] Speaker A: Everyone was afraid to say they loved it until it was played live and it was not played live for an obscenely long time. I'll let you get to that.
[00:37:07] Speaker B: Yeah, we'll talk about that later. I don't know. I'd never had any. Like I said, I'm a latter half person stan. That's right. I'm a latter half stan. And so we're getting into that. We're getting the thick of it.
[00:37:21] Speaker A: That good stuff.
[00:37:22] Speaker B: It's really good. But we can talk more about interpretation of the song. Do you consider it a sister song? To with teeth.
[00:37:32] Speaker A: Absolutely. And I already talked about how if you put a really straightforward beat on with Teeth, it would sound just like the Sunspots lesser liked brother or something.
[00:37:45] Speaker B: Yeah. And I think also the interpretation of the lyrics is also kind of the same as With Teeth, but maybe not as bad.
[00:37:54] Speaker A: I would say with Teeth, it's still.
[00:37:57] Speaker B: Using a woman as a they're both.
[00:38:00] Speaker A: About using the woman metaphor. But I'd say With Teeth leans more to the drugs side and Sunspots leans more to the sex side, maybe. Am I wrong?
[00:38:13] Speaker B: Well, you could interpret it probably either way. Is it a song about addiction and drugs where the woman is still this person who turns him on, makes it real? Or is it a lust kind of song?
[00:38:25] Speaker A: It's more lusty to me, but I could see how you can interpret it both ways.
[00:38:30] Speaker B: However, it could mean both. We don't know.
[00:38:33] Speaker A: One could say two songs where we have the woman as drug metaphor.
Yeah, you would be correct in saying that's a bit much on the same. Album. But also he could be doing, like, the with teeth is the bad side of it and the Sunspots is the good side of it.
[00:38:50] Speaker B: It's the fun side of it.
[00:38:52] Speaker A: It's the sexy side of it.
[00:38:54] Speaker B: What makes it attractive, right? It makes you feel good.
[00:38:58] Speaker A: With Wisdith, we're just hearing about the bad shit and how he can't go through this again. We don't have that kind of agonizing on sunspots.
[00:39:06] Speaker B: I mean, there's a little bit, like towards the end, some of the lyrics there go towards a darker side.
[00:39:13] Speaker C: Right?
[00:39:13] Speaker A: There's no nine inch nail song that's just all cheery, obviously.
[00:39:18] Speaker B: Can't we just have a fuck song without any darkness in it?
[00:39:21] Speaker A: Definitely not, because he's not like, who's someone who writes fuck songs.
He's not the Eisley brothers the weeknd. Yeah. He's not the weekend. He's got to put some stuff about self loathing in there, like, what is it?
[00:39:39] Speaker B: What do the kids fuck to?
[00:39:41] Speaker A: Probably some R B that we don't even know about.
God forbid.
[00:39:48] Speaker B: Live drums. Grol or droll, as Blake said earlier, dave droll.
[00:39:53] Speaker A: Can I say on that when it starts and just kind of the main verse beat sounds very sequenced to me and not real at all. Although when it gets to the chorus, that's when it sounds like grol to me. And especially when he's doing, like, fills. So I think it's a combination.
[00:40:13] Speaker B: Okay, but I want to talk about there's a certain sound, and I'm sure you're going to play clips of it in your clips corner, but there's a sound that's very loved amongst Nine Inch Nails fans. People describe it as sounding like a blender, maybe sounding like a vacuum cleaner.
[00:40:31] Speaker A: I bet there are people who are annoyed by it. I bet it can't be universally beloved.
[00:40:36] Speaker B: Okay, well, it's beloved by me.
[00:40:41] Speaker A: Well, I might have had a love hate relationship. No, I never hated it.
[00:40:44] Speaker B: I love it. It's so interesting, the vacuum cleaner synth.
[00:40:48] Speaker A: There was a time recently when I was like, I bet you could do a version of this song without the back where you remove that altogether, that synth, and it would be a great rock song. But today listening, I was like, that would actually take away a lot of its uniqueness and character. So it's probably best to keep that in.
[00:41:09] Speaker B: Yeah. So I want to talk about how Resner got that sound. And most people won't believe me when I say it was with a Hoover, but it was with a Hoover. Just a run of the mill, $65 Hoover vacuum at Walmart.
[00:41:24] Speaker A: I heard it was a Dyson.
[00:41:26] Speaker B: He didn't have money for a Dyson. He didn't have his credit card on him. He only had, like those aren't cheap. Yeah, no, okay, obviously that's not true. And that was also a dumb joke, and I'm sorry.
[00:41:37] Speaker A: No, that's funny. I always imagine Atticus, like, just vacuuming like a rug, hoovering around the studio.
[00:41:45] Speaker B: Yeah, but this is what Reznor said in Remix magazine on getting that sound. He said, I believe we did that with The French Connection, which is a CB keyboard player based on the Martineau. And we'll talk about the Martineau in a second. There's some really cool stuff.
[00:41:58] Speaker A: I'll talk about how I pronounce it.
[00:42:02] Speaker B: Essentially, it's got a wire control with a ring on it. So you put your finger in that.
[00:42:07] Speaker A: I love this thing.
[00:42:08] Speaker B: And you've got a keyboard right above it. So the wire acts almost like a theraman, but it just sends out continuous CV.
[00:42:16] Speaker A: Should I say what that is? Yes, that's control voltage gist.
[00:42:20] Speaker B: Okay. So you can choose to either play it from the keyboard or from the ring, and it's difficult to get it right. That's another example of something that lends itself to performance instead of Midi recording. You try it and you realize that you're off a little bit. It's tough to do, but it does give you a very distinct performance. I think its origins were back in the days of trying to take the idea of a synthesizer and making it an expressive instrument that's not just locked into an organ type keyboard in very strict intervals.
[00:42:48] Speaker A: I love that thing. I want one.
[00:42:51] Speaker B: Yeah. So the Martino that he's talking about and I believe you pronounce it my French isn't very good.
[00:42:57] Speaker A: How okay. Can I say how the Ozarkian said it? This is how I've always said it in my head.
[00:43:02] Speaker B: Yes.
[00:43:03] Speaker A: Andes Martinott.
I don't think I ever talked about it out loud.
[00:43:11] Speaker B: No, I know.
[00:43:12] Speaker A: Until now.
[00:43:13] Speaker B: We live in an area that has a lot of areas that are named French terms, but they're very Ozarkian. For example, there's for example, the word Ozarks.
There's a small city named well, it's Versailles, but it's Versailles.
[00:43:31] Speaker A: They say versailles.
[00:43:32] Speaker B: There's also a city called well, anyway, I'm not going to say it. What how would you say bodark? Bodark. Would it be.
[00:43:43] Speaker A: I don't I don't speak French at all. But they call it Bodark, but it has an X in there.
[00:43:48] Speaker B: And one time I worked with a dude at Barnes and Noble, and we used to have to handwrite this was a zillion years ago. We used to have to if someone wanted to special order a CD, we had to write up a slip. How did I slip into and we had a form, and at the end of the night, before we closed, I would have to fax the forms to our distribution center so they could send us these special orders.
[00:44:10] Speaker A: Oh my God.
[00:44:11] Speaker B: But I remember I came in for the closing shift and I was looking at the forms, and my friend who worked in news department with me had wrote Bodark and spelled it B-O-D-A-R-C-K. That's.
[00:44:25] Speaker A: How it should be.
[00:44:26] Speaker B: Yeah.
[00:44:26] Speaker A: I mean, amazing.
[00:44:27] Speaker B: Yeah. I mean, he did it as a joke. He knew how it felt, but he was just being funny.
[00:44:32] Speaker A: Okay, so the martin.
[00:44:34] Speaker B: Martino. So the French connection is based upon this instrument called the On Martino. And I was actually very fascinated by it as I was researching last night. And it was created by Maurice Martineau. What a good French name, Maurice.
[00:44:54] Speaker A: This is like more than 100 years ago.
[00:44:55] Speaker B: This is like no, it was not because he died, like, in the 80s. It was invented in 1928.
[00:45:01] Speaker A: Okay, that's for one of I guess.
[00:45:03] Speaker B: It was almost 100 years ago.
[00:45:04] Speaker A: One of the earliest synthesizers. Yes, up there with the theraman for oldest.
[00:45:09] Speaker B: Yeah. So he was inspired by the accidental overlaps of tones between military radio oscillators and he also wanted to create an instrument with the expressiveness of the cello. I'm reading this right from Wikipedia.
[00:45:21] Speaker A: This is genius. And the way you move your finger up and down the wire gets that expression.
[00:45:29] Speaker B: And so anyway, he was inspired whenever he was a radio operator operator during World War I.
So he died in 1980 and after that, I mean, there's not a lot.
[00:45:40] Speaker A: Of he was old as hell.
[00:45:42] Speaker B: There aren't a lot of these instruments out there. I believe in the 80s when his son kind of took over, there were a few more that were made because I think he almost built all of them himself. I'm not sure or he was involved.
[00:45:55] Speaker A: Heavily with the these are definitely handcrafted devices.
[00:45:58] Speaker B: Yes. And you should I got a lot of information for this from a really cool video on YouTube called well, actually I'm not going to say what it's called. Hold on.
[00:46:06] Speaker A: Yeah, I know the video.
[00:46:08] Speaker B: I will in a minute. But the French Connection that Reznor was talking about is it's based upon the Anne Martin, though. So it was basically analog systems recreated. It kind of there are some things that are still missing from it's. Not exactly the same, but it's basically the same technique. The same.
[00:46:30] Speaker A: Right. But it's important to note that it's just a controller that sends signal to your synth rig. I'm assuming they had it sending CV to the modular synth rig to make the vacuum sound and note, I didn't say Midi controller. It's a CV controller.
The expressiveness between notes is, I guess, made possible by the fact that it's control voltage and not digital Midi signal. That's like the whole reason to do this type of part on that type of controller rather than just the usual method of using a Midi controller.
[00:47:16] Speaker B: Well, this instrument is very rare to find if you're actually looking for an On Martin node. Here's a radio head and Nine Inch Nails connection. For all the Nine Inch Nails and radiohead fans out there, the overlap is.
[00:47:32] Speaker A: Insane for the fans of these two bands.
[00:47:35] Speaker B: Johnny Greenwood is a huge fan of The On martino has used it a ton in radiohead songs. Maybe was it starting with Kid A that he started incorporating it in?
[00:47:45] Speaker A: Maybe.
[00:47:45] Speaker B: I can't think of anything on OK computer off the top of my head.
[00:47:49] Speaker A: Yeah.
[00:47:49] Speaker B: But I feel like it was really prominent on Kade in a lot of albums.
[00:47:53] Speaker A: Great.
[00:47:54] Speaker C: Yeah.
[00:47:54] Speaker A: There's so many great prominent parts played on that he's really good at playing it.
[00:48:13] Speaker B: And so he was afraid, though, of taking his rare instrument out on tour, from what I've read. Yeah. Didn't want it on stage, didn't want it to get damaged while touring or have something horrible happen to stolen. So he actually worked with from what I understand, he worked with the analog systems and commissioned them to make The French Connection.
[00:48:36] Speaker A: Yeah, that's what I saw.
[00:48:38] Speaker B: And that's what he uses when he's on tour, is The French Connection.
[00:48:42] Speaker A: It's genius, really.
[00:48:43] Speaker B: Yeah. And that is what Rezner used to make the sound on.
[00:48:47] Speaker A: So thanks to Johnny Greenwood, we have the Sunspots vacuum cleaner sound.
[00:48:52] Speaker B: That's right. It's all thanks to Johnny Greenwood. And if you want more information on that or just want to know how this works, there's a video on YouTube, obviously, called How Johnny Saved the ond Martin O, and you can find it on David Bruce Composer Channel.
It had some cool, like, little brief clips of Johnny being interviewed about why he likes this instrument and demos of people playing it and then tells you how it was made and gets more into detail about things that I don't understand but I find completely fascinating about how the instrument works.
[00:49:25] Speaker A: I love little history of synth videos. You should also check out synth history.
[00:49:31] Speaker B: Anyway, he also talked about dead instruments, which was something I found fascinating and never really thought about, was how when a creator of an instrument dies, and if the instrument has cult popularity or some kind of people who are out there using it.
[00:49:45] Speaker A: There's a lot of cool stuff like that out there. Like the Melotron and the Chamberlain, they're like cousin instruments. I think the Chamberlain might have been the predecessor.
[00:49:56] Speaker B: Anyway anyway, I just thought that was neat.
[00:50:03] Speaker A: I just think they're neat.
[00:50:04] Speaker B: I just think they're neat.
Do you want to play the song?
[00:50:07] Speaker A: Yes.
At long lasting. Such a moody, dark little bass line here.
[00:50:25] Speaker B: So you think this drum part right here is Sequins?
[00:50:29] Speaker A: It sounds like it could be some single hits done by Groin. The part is very sinister.
The little plucked guitar comes in.
Even that crash sounds so dark and sinister.
[00:50:52] Speaker C: I hear it calling and I come because I can't disobey I shouldn't I listen and I shouldn't believe but I do, yes, I do she turns me out.
[00:51:11] Speaker A: The chorus is just falsetto vocal.
[00:51:16] Speaker B: Is this your favorite resner falsetto work?
[00:51:19] Speaker A: I don't think so.
He has a lot of amazing falsetto first chorus. We don't get the synth part yet. We have to wait for that.
[00:51:30] Speaker B: Don't worry. It's coming, though.
[00:51:32] Speaker A: It is coming in a big way. And once it comes, it doesn't go away.
[00:51:36] Speaker C: The name of God would I'm kind.
[00:51:39] Speaker A: Of humming Droning in the mix there.
[00:51:42] Speaker C: That.
[00:51:46] Speaker A: This is my favorite line.
Some of my favorite lyrics on the album probably are in the song.
[00:51:58] Speaker C: Yes I Do she tells.
[00:52:04] Speaker A: There it is.
[00:52:09] Speaker C: I have to apologize.
[00:52:15] Speaker A: Guitar riff is really cool.
Almost forgot about that. The catchphrase back again.
[00:52:28] Speaker C: And everything I Ever Want is Inside of you.
[00:52:40] Speaker A: Kind of get like a solo up the sound.
[00:52:42] Speaker C: Yeah.
[00:52:43] Speaker B: I love it.
[00:52:43] Speaker A: It's its own solo part.
[00:52:45] Speaker B: So weird.
[00:52:48] Speaker A: Kind of I hear like a fifth harmony, I think.
Got some strong overtones there.
That's definitely a groll fill with the open hat. Sounds a lot more organic on the chorus.
That really rocks out.
[00:53:13] Speaker B: This might be one of my favorite parts on this whole album.
[00:53:17] Speaker A: Yeah.
This is more than just an outro. It's a whole different set of lyrics that are delivered really aggressively, really well.
Those high guitars are cool, too.
[00:53:40] Speaker C: There is no place left to be.
[00:53:47] Speaker A: Someone voice is almost like breaking when he goes up that high.
Love that delay, that long delay on the song, too.
And it ends as simply as it began.
[00:54:11] Speaker B: You do you have any clips for us?
[00:54:15] Speaker A: Clips? Yes, I do.
I'll start with some vocals.
[00:54:22] Speaker C: Sunspots cast a glare in my eyes.
[00:54:31] Speaker A: Sometimes and a little of the guitar.
[00:54:35] Speaker C: I'm alive I feel it coming and I've got to get out of its way I hear it calling and I come because I can't disobey I should not listen and I shouldn't believe but.
[00:54:53] Speaker A: I do yes, I do then there's some backup vocals on that. I don't think I really noticed until I dug into it.
[00:55:06] Speaker C: Some spots cast a glare in my.
[00:55:10] Speaker A: It'S just kind of like a falsetto doubling of the main part.
[00:55:15] Speaker C: Sometimes I forget I'm alive it's really.
[00:55:21] Speaker A: Quiet in the mix. I boosted it up a lot.
[00:55:24] Speaker B: That's really cool.
[00:55:25] Speaker A: Yeah. And then that speaking of falsetto, that chorus.
[00:55:30] Speaker C: She turns me on she makes it real I have to apologize for the.
[00:55:45] Speaker A: Way I feel also, on the upbeats you're hearing, there's like a noise that enhances the snare sound.
Almost makes it sound like a clap.
[00:55:58] Speaker B: When you is that what it was?
[00:55:59] Speaker A: Yeah. On the snares. Listen.
[00:56:01] Speaker C: She turns me on she makes it.
[00:56:07] Speaker A: Real yeah, it's just something that's added to the snare. It sounds better when it's all played together, but for some reason it was in the center channel.
Just the chorus, guitar, vocals and some other stuff.
[00:56:41] Speaker C: My life, it seems as taking a turn.
Why in the name of God would I ever want to return.
[00:57:00] Speaker A: I love those weird affected falsettos.
I called the second part of verse to the sexy vocals.
So turn your speakers up.
[00:57:14] Speaker C: Peel off our skin we're going to burn what we were to the ground fucking the fire and we'll spread all the ashes around I want to kill away the rest of what's left and I do yes, I do.
[00:57:32] Speaker A: Okay. Some noises that you might not have known were there.
It's like a flange thing.
A synth sequence with really heavy flange on it, maybe.
Okay. Some chorus, two vocals and more.
[00:58:01] Speaker C: She turns me out she makes you I have to apologize.
[00:58:14] Speaker B: Atticus is really cleaning back there.
[00:58:17] Speaker A: He's getting that studio chicken span.
[00:58:20] Speaker C: Nothing can stop me now there is nothing to tell and everything I'd ever watch is entirety.
[00:58:40] Speaker A: A lot going on there that we'll get into some of it. I like that. The second chorus is, like, doubled in length with the extra lyrics, including Nothing Can Stop Me Now. Right after that, we hear the word here delayed, echoed out.
[00:59:00] Speaker C: Here.
[00:59:05] Speaker A: And then, you know, I had to get the vacuum synth, the French Connection by itself.
Right.
[00:59:35] Speaker B: Way cool.
[00:59:36] Speaker A: In the starting in the well, toward the end, the guitar chorus riff is doubled with what sounds like a synth.
[00:59:45] Speaker C: Part to, like, beef it upload. Um.
[01:00:06] Speaker A: I dig that thumbs up, that squealy guitar toward the end and then the vocals at the end.
[01:00:39] Speaker C: Of hell. Now I just carry to the side and I see everything.
[01:00:50] Speaker A: There is Sam breathing.
[01:00:54] Speaker C: But I can't stop what has begun when there is no place left to run I think I will be someone now I just stare at you.
[01:01:19] Speaker B: I just want to say that people need to stop staring into the sun so much. It's not good. Not good for your eyes. You two did it in the 90s. It's not good.
[01:01:28] Speaker A: You, too did it.
[01:01:29] Speaker B: There was a song called Staring at the sun. Do you not remember that from pop?
[01:01:34] Speaker A: I never really cared about you, too. Anyway, sorry.
[01:01:37] Speaker B: That was probably my favorite single from that album.
[01:01:41] Speaker A: I did want to say I love how the delay on the word sun is so extreme at the very end there. That's all I got for sunspots.
[01:01:53] Speaker B: Nice. I do want to talk about the live performance of Sunspots.
[01:02:01] Speaker A: This is, to me, one of those better live songs.
[01:02:06] Speaker B: So it made its live debut on June 21, 2022 at Brixton Academy, London, only little over a year ago.
[01:02:20] Speaker A: No.
[01:02:21] Speaker B: Oh, sorry.
[01:02:22] Speaker A: 17 years too late. Or not too late. 17 years later.
[01:02:26] Speaker B: Yeah.
So I reached out on discord and I asked some of our patrons who were there if they wanted to share their experience about seeing the live debut of Sunspots. But also we were at the live American debut at Red Rocks.
[01:02:45] Speaker A: Pretty lucky. No big whoop was hoping for that?
[01:02:49] Speaker B: No, I was kidding. That was a joke. It's not as big of a whoop.
[01:02:52] Speaker A: As the Brixton was it the back to back American debut of Sunspots and everything.
[01:02:58] Speaker B: And everything, yeah, we'll talk about that.
[01:03:00] Speaker A: That was pretty intense crowd moment.
[01:03:03] Speaker B: Yeah. One of our patrons shared it.
[01:03:05] Speaker C: Yeah.
[01:03:06] Speaker A: I can't remember if I earlier I can't remember what I said about Tambourine, but there did, in fact, turn out to be tambourine at the end of Sunspot.
[01:03:16] Speaker B: You know what? It wasn't super prominent.
[01:03:18] Speaker A: Yeah, it's a little lower in the mix, but you can hear it.
[01:03:21] Speaker B: You can hear it whenever you were playing those. But yeah, I don't think I yeah, it's there.
[01:03:26] Speaker A: That's what matters.
[01:03:28] Speaker B: Okay, so I posted it, though, last night at nine. So I think most of our overseas friends were in bed or getting ready for work whenever I posted it. But should I start with the Red Rocks crew, or should I start with the people who were over there who actually saw it?
[01:03:45] Speaker A: Start chronologically with the people who saw it in the UK.
[01:03:49] Speaker B: So I think there were two people who responded who were in the UK. And one of them is Stacey.
[01:03:55] Speaker A: Shout out.
[01:03:56] Speaker B: And Stacey sent me a direct message.
She said, this was my very first Nine Inch Nose concert and I was so excited. Leading up to the night, everything had just debuted at the Glasgow gig, so my anticipation was at an all time high that this might be performed at Brixton. I understand that not everyone likes that track, but I really love it. Me too. Lo and behold, they actually performed it and I died and went to heaven. There was a definite buzz in the audience for that one. When sunspots came on. I have to admit that I didn't appreciate the significance of it at the time, as I had no idea that they hadn't performed it before.
[01:04:30] Speaker A: Damn.
[01:04:31] Speaker B: Yeah. I can't say I noticed the crowd going nuts or anything like that, but their performance was great and I loved it. The lighting was perfect and it was all very sexy. Even the vacuum cleaner parts, the sexiest.
[01:04:41] Speaker A: Part when Atticus busted out.
[01:04:43] Speaker B: The mover that night was so special to me, and it remains one of the best nights of my life. I feel so privileged to have seen this gig. It was amazing.
[01:04:51] Speaker A: Yeah, I wish I was there for that.
[01:04:53] Speaker B: And then I believe Jacob also posted about it because he was at the gig. Jacob said, I was there. Absolutely. Electric moment. I remember there being a brief like 0.5 2nd silence while everyone was just realizing what was happening.
So there you go. I think those are the only two people who saw the Brixton debut now our American buddies who were at Red Rocks, the Red Rocks crew.
[01:05:25] Speaker A: Shout out.
It's more than a year ago now.
[01:05:28] Speaker B: I know, isn't that weird?
[01:05:30] Speaker A: But shout out to the people who said, hi.
[01:05:32] Speaker B: Rooker said, I don't even remember them playing it. I can't remember shit.
[01:05:39] Speaker A: He's canceled for that one.
[01:05:43] Speaker B: Sorry.
[01:05:43] Speaker A: I don't think he knew he was at a Nine Inch Nails show.
[01:05:47] Speaker B: He's like, Is there no effects? Where am I? And Asher said I was extremely excited, but my mom couldn't care less. She doesn't even like Sunspots at all. I think she would have had a better time if everything and sunspots were replaced with, like, Something I Can Never Have and All Time Low, or most other nine inch nail songs.
[01:06:04] Speaker A: Those songs have been played a lot already.
[01:06:07] Speaker B: I just picked two of her faves. I think Jack chimed in. Okay, so Jack replied and said, I came everywhere ten out of ten moment.
And then he continues, and then I shouted everything after Sunspots finished. And then they actually played everything. And the guy next to me thought I was Jesus.
[01:06:28] Speaker A: He definitely manifested it.
[01:06:31] Speaker B: Our friend Reznor Audio said, I would have told you to yell, we're in this together next.
And Jack replied with, I tried yelling Deep a few times later that night and it didn't work. I think he lost faith in me.
[01:06:42] Speaker A: He got greedy with Deep, I must say.
[01:06:46] Speaker B: Could you imagine if Teeth aren't playing Deep here's?
[01:06:49] Speaker A: Deep for no good reason.
[01:06:52] Speaker B: And Resner Audio said, it was one of the moments that really made it worth traveling all the way over there for.
[01:06:58] Speaker A: I enjoyed seeing those people as well.
[01:07:04] Speaker B: Meeting everyone. But yeah, it was really cool.
[01:07:07] Speaker A: I loved hearing sunspots live and everything.
[01:07:11] Speaker B: I hope everything. I was really excited.
[01:07:13] Speaker A: I just felt lucky that we got to be there.
[01:07:15] Speaker B: And we also had the one two punch of I'm Afraid of Americans followed by Fashion.
[01:07:19] Speaker A: Right. That was just mind blowing.
[01:07:21] Speaker B: Yeah, that was really cool.
Good covers there. So another song we saw that night, wait.
[01:07:30] Speaker A: Oh, Home. Yeah, that was the same night.
[01:07:32] Speaker B: Oh, cool. Yeah, that night was great.
[01:07:34] Speaker A: That night was buck wild.
[01:07:39] Speaker B: So, Home, you want to talk about it?
[01:07:42] Speaker A: Yes.
[01:07:43] Speaker B: Hey, guess what? I don't have a lot of info about it.
[01:07:45] Speaker A: That's okay. We already know it's not on your CD. Not on your five one DVD either, sadly. I wish there was a surround mix of it.
[01:07:54] Speaker B: Yeah, we already talked. It's available in a lot of international versions. And the hand that feeds ten inch picture disc live drums on it are Jerome. So Jerome did it, but hitting them.
[01:08:04] Speaker A: Like his life depended on it. And it shows.
[01:08:08] Speaker B: Yes. Do we want to play the song?
[01:08:10] Speaker A: Yeah.
[01:08:12] Speaker B: This is another bleed through e kind of theme song.
[01:08:32] Speaker A: This is another off kilter beat. And I'm not gonna lie, the first time I ever heard this song, like, with Teeth, I had the rhythmic displacement again and I was thrown off and I was like, oh, no, not again. I was panicking.
Now, though, I can get right into the groove. And I really like it.
[01:08:57] Speaker C: Should be anesthetic.
[01:09:07] Speaker A: You just got this is another, like, nearly synthesizer no, it's not synthesizer free. I take that back. We hear some real bass guitar, live drum.
[01:09:27] Speaker C: God knows how much I tried to.
[01:09:36] Speaker A: And when that high guitar goes down right there, I think that's when the song really gets good for me.
I think it's when it falls into place.
[01:09:47] Speaker B: I'd agree with that.
[01:09:49] Speaker A: Yeah.
I have mixed feelings on that high whiny guitar at the beginning.
Now we're hearing kind of like a gliding bass pimp in addition to the bass guitar. I guess there's something like clinky in there, too. I can't tell if it's a guitar pluck or a keyboard.
[01:10:14] Speaker C: Until you came along I return to place I belong.
[01:10:34] Speaker A: To I like how the pretty little bell sound follows the vocal melody there.
[01:10:41] Speaker C: Knows how much I try to kind.
[01:10:47] Speaker A: Of sound like his voice is cut off in that part, too.
[01:10:50] Speaker C: I am still inside you and I am still inside you this is yet.
[01:11:04] Speaker A: Another verse, chorus, verse, chorus. And then we just get the drum outro and that's it.
So that structure strikes again.
A little over three minutes and we're just left with the world's. boomiest drums from Jerome there. But pretty, pretty. That one's different.
[01:11:34] Speaker B: Yeah, it hits different. I still feel a lot of lead through elements in this. Right. Like I wake to find I'm not where I should be it's hard to figure out what's real and what's pretend.
[01:11:47] Speaker A: Someone was saying that reminded them of I think it was Patron hannah reminded them of something similar, something like an all that could have been the still song. But I can kind of hear where they're semi related. They have a kind of vulnerable feeling to them, even despite the huge booming drums. There's a lot of softness to the vocal and guitar and vulnerability.
Don't quote me on that, but I think that's what she said. You know what's wild, though?
I don't know when you first heard this song, but I did not hear this song until we got the definitive edition vinyl and heard it on that.
[01:12:42] Speaker B: Oh, really?
[01:12:43] Speaker A: Yeah. Had you heard it before?
[01:12:44] Speaker B: I think I looked it up on, like, YouTube or something.
[01:12:47] Speaker A: I just had never heard it. And I know some of our listeners are, like, waiting to hear it.
[01:12:53] Speaker B: I think some are following along if they haven't heard anything.
[01:13:00] Speaker A: That was your first time. Congratulations.
[01:13:03] Speaker B: And you were talking over it the whole time. I kept wanting to say, Stop talking.
[01:13:07] Speaker A: I thought, no, that's what we do. Oh, my God.
[01:13:11] Speaker B: Can you at least be quiet during the chorus?
[01:13:13] Speaker A: No, this is not a this is not a we just play music podcast. It should be, because that would get us copyright strikes.
[01:13:26] Speaker B: Well, if we just come in every.
[01:13:27] Speaker A: Commentary anyway no, I got to talk over the whole thing.
[01:13:34] Speaker B: Why do you think this wasn't included on the CD?
Why was it left off?
[01:13:39] Speaker A: You could make the argument it doesn't fit in. It's different from the feel of the rest of the album. It doesn't have the kind of in your face, rock and roll song feel.
[01:13:53] Speaker B: Got those drums.
[01:13:54] Speaker A: Yeah. I mean, those are really in your face.
[01:13:56] Speaker B: I think there's a lot of the same bleed through themes ties and also addiction ties again, and I think the two are very closely related because whenever you're using I probably have talked about this before, maybe, but whenever you're using drugs or any kind of if you're drinking or taking a gummy or whatever, taking a gummy. It's like you're creating your own little world where you do feel safe and.
[01:14:24] Speaker A: Protected and do kind of go into.
[01:14:26] Speaker B: A different it's like an alternate reality because you're in an alternate state. So the way that you are absorbing things around you is going to be very different from someone who is sober.
[01:14:37] Speaker A: Yeah, I think about what denial is.
That's like being in a different universe from everyone else where you believe something very strongly that is not right. And some people are eventually woken up from that and some never are, sadly. But maybe it has to do with that. I don't know.
[01:15:01] Speaker B: Maybe. I think thematically it fits, but I could see why maybe he I just don't know why you'd put it on the vinyl but not on the CD. If it's an American pressing, like, why not just put it on the CD, too?
[01:15:13] Speaker A: Well, I'm saying it's kind of like with the Fragile, maybe it's like you can't decide, so you're just going to have it both ways with different formats.
Those songs were maybe ones he was going back and forth on. Like, is it part of the album? Is it not?
[01:15:31] Speaker B: I mean, I can see how not so pretty now. Definitely doesn't fit. Yeah, I mean, I love it. I love not so pretty now. I think.
[01:15:42] Speaker A: It'S too early to talk about that song, but it's unlike any other Nine Inch Nails. But also it is very nine inch nails. It's strange.
[01:15:50] Speaker B: This album is very strange. I feel like it's an alternate reality. Nine inch nails even.
[01:15:56] Speaker A: And it's definitely one of these things, is not like the other album where it stands out as sounding different.
[01:16:02] Speaker B: And it's the beginning of like a new obviously beginning of a new era. But I feel like his soundscapes and recording styles were never as complicated as he made them when he was younger and making the Fragile and downward spiral. Yeah, we never really have gotten an album like those since. They've all been kind of more I don't want to say with teethy, but there's more of well, even more like.
[01:16:30] Speaker A: Stripped down, more simple approach than the agonizing fragile approach.
[01:16:38] Speaker B: And that is probably just his change in headspace.
[01:16:41] Speaker A: Yeah, that's a change as a person. Yeah, but with Teeth was like a I feel like it's a transitional jumping off point to the latter half of your career.
His career.
Okay. What else about home?
[01:17:02] Speaker B: I don't have anything else. I like it. I have kind of mixed feelings on it. Some people call it God tier.
[01:17:08] Speaker C: Yeah.
[01:17:08] Speaker A: I don't know, Becca. I actually really like it once there's the change in the guitar note.
It's weird. Maybe I'll get shit for this, but from the beginning, that guitar. Makes me think I'm going to get a different kind of song than I'm going to get. Although the song we get I still like, but it's almost like the note is clashing a little bit. I know he always does like the dissonant tense notes and harmonies, but for some reason once the guitar note transitions down, it's just like, oh, this is much better. I don't know that we needed that high note in the beginning at all, although it's just such a recognizable part of the song that what would it be without? I don't know.
[01:17:54] Speaker B: I don't know. Probably my favorite part is when it's towards the end where he's singing and I am still inside you and it's just over drums and then the drums just do the outro. It's probably my favorite part of the song. Very sparse, cool, very minimal. Yeah, I think his vocal performance is really nice. Very pretty.
[01:18:12] Speaker A: Yeah, it's soft and nice. Yes.
[01:18:15] Speaker B: Very melancholy. There's something about it, but I don't know if people are going to get mad. I wouldn't put it in my top tier. I think there's a reason why Trent Reznor is mixed on it and why it's tucked away on the vinyl or on international editions. Yeah, I think he liked it enough to release it, obviously.
[01:18:37] Speaker A: But I agree, it is a very nice song, but not a song that I think of when I think of my the best nine inch Nell songs.
[01:18:47] Speaker B: I don't even know if I'd put it in my favorite. I mean, this isn't a B side, but I don't know if I'd put it in my favorite with his songs. Well, no, I was just thinking of.
[01:19:00] Speaker A: Oh, favorite non album songs.
[01:19:02] Speaker B: Yeah, I mean, it is on the album, but it's also not, so I don't even know if I would put it in. Yeah, it's hard to describe. It's not a B side, but it kind of is.
[01:19:10] Speaker A: It's possible it could make like my top five with Teeth songs? Maybe, but I'm going to have to think about that later down the line. I really am undecided on that so far. Like what my top with Teeth songs are.
[01:19:23] Speaker B: I don't know if I'd put it in that.
[01:19:24] Speaker A: So I know I need more time to think on that.
[01:19:27] Speaker B: Yeah, I would too. And I'd have to because it's not streaming and because it's not on the CD and it's only on vinyl. I have not spent as much time with song as I should have and honestly, I feel like, well, whenever you rip it and we have a good I'll put it on my spotify.
[01:19:43] Speaker A: I just got the Japanese CD literally delivered today insanely fast and it has home and right where it belongs v.
[01:19:52] Speaker B: Two, but having to go to YouTube and look it up really destroys the mood.
[01:19:57] Speaker A: I'm going to get some nice lossless.
[01:20:00] Speaker B: Versions of those, so I will check back with you after I've sat with this song about 2030 more times and let you know if I've changed my mind on it because I'm a human and I changed my mind a lot.
[01:20:12] Speaker A: Yeah, we all do.
[01:20:13] Speaker B: It okay. I don't have anything else to say.
[01:20:17] Speaker A: Oh, you already did the home life. Or did you did you talk about home life?
[01:20:21] Speaker B: Oh, no, I don't think I did. It made its live debut on March 23, 2005, and was played during the Ninja tour. And we saw it.
[01:20:31] Speaker A: Right. So it came back. It was used as an opener I know. On the ninja era. I don't know if it was ever used as an opener. In five. You can look up some cool videos of Trent coming out to Home. I wasn't there. So many of our people were and they're going to have to correct me. All I know is that, look, we're just dumb. It was used as an opener for some shows, which I think is a very bold choice. Coming out there and Home is the first thing you play.
[01:21:02] Speaker B: Yeah. I don't know if that's really a crowd pumper. I don't know.
[01:21:04] Speaker A: It's not. But a lot of people love it.
[01:21:07] Speaker B: But it's a strong.
[01:21:11] Speaker A: That'S a that's a tough one.
[01:21:14] Speaker B: It's no, just like when I'm at a show, I'm just like, play anything. I don't care. I'm going to go see Depeche Mode again. And their set list is exactly the same as when we saw them in.
[01:21:24] Speaker A: Chicago putting a lot of effort. They're not putting Nine inch nails lever.
[01:21:27] Speaker B: They are not doing a Taylor Swift eras. And here's what I think my new thing now is if you are a band with a huge back catalog and fans who just adore you, maybe you should, if you've released 1415 albums, whatever, play a random track, how cool would it be to go see a random deep cut? Yeah, a random deep cut. Anyway, every night, just play one different song and keep the rest the same if you want. I don't care. But also, I understand that they are 60 years old.
[01:21:58] Speaker C: They're getting up there.
[01:21:59] Speaker A: They probably don't want to do it. They don't want to learn 50 plus songs like NIN did for the most.
[01:22:06] Speaker B: Recent tour or Rework or whatever. My God, rearrange light shows and whatever.
[01:22:13] Speaker A: Yeah. They got to have the videos ready.
[01:22:16] Speaker B: Yep. But I'm still excited to go, so it doesn't matter.
[01:22:20] Speaker C: Yeah, me too.
[01:22:21] Speaker B: They could play anything. I wouldn't care. Dave could come out and just do his cover of Nothing Else Matters and I'd be fine with it.
[01:22:29] Speaker A: I forgot about that entirely. I've never even heard it. Probably don't need to anyway.
[01:22:34] Speaker B: Phoebe does it, too. Okay.
[01:22:36] Speaker A: I heard that one.
[01:22:38] Speaker B: That's what so so one thing we have done for a while is to thank some other contributors to Nailed. So I want to thank Tyler Snell, who does our artwork, and Christopher G. Brown, our Nintend. And speaking of christopher.
[01:22:59] Speaker A: All right.
[01:23:01] Speaker B: He invited us to be guests on his podcast called When Scary Met Stabby.
[01:23:08] Speaker A: Yeah, When Scary Met Stabby, which is a funny title. This was fun to do.
[01:23:13] Speaker B: Yep. We talked about the menu.
[01:23:15] Speaker A: Yeah, it's a horror film podcast. This podcast does horror movies every October. It's like an annual October. Only thing we talked about a really great movie called The Menu and it was fun. So check out When Scary Met stabby the Menu episode.
[01:23:34] Speaker B: And thank you for having us on.
[01:23:36] Speaker A: Yeah, thanks for having us on. Thanks for being the mentor as well.
[01:23:39] Speaker B: Yes. So. Blake.
[01:23:42] Speaker A: New patrons.
[01:23:43] Speaker B: Yes.
[01:23:44] Speaker A: Shout outs to new patrons. Patreon updated their app. It's maybe marginally better, but hard to only it doesn't go that far back with new patrons. But it goes far enough. This is brand new, just as of today. A new patron named Aaron. Thank you, Aaron.
[01:24:04] Speaker B: Hi Aaron. Thank you.
[01:24:06] Speaker A: Also new. Matthew, John, Lara, or Laura? Probably Laura.
[01:24:15] Speaker B: Sorry, how do you spell it?
[01:24:17] Speaker A: L-A-R-A lara.
[01:24:18] Speaker B: Lara. Laura Lara.
[01:24:20] Speaker A: Like Lara Croft? Tomb Raider? Or is it Laura Croft?
Oh, Josepha. What's? J-O-Z-E-F-A. Josepha. I'm going to say Josepha. Sorry.
[01:24:34] Speaker B: We could look it up, you know.
[01:24:36] Speaker A: How are we going to look it up?
[01:24:37] Speaker B: I look up how to pronounce things all the time.
[01:24:39] Speaker A: Names are subjective. You can't look it up.
[01:24:41] Speaker B: Fine.
[01:24:42] Speaker A: Okay. The next Rob. Some of these people. Okay, I'm getting into the part where I can't remember who I already thanked. But Rob, probably Rob Sheridan.
[01:24:54] Speaker B: Yeah, it's probably Rob Sheridan.
[01:24:55] Speaker A: Probably already made that joke last time.
[01:24:57] Speaker B: He's like, we're getting to my era, so I got to listen.
[01:25:00] Speaker A: Yeah. So thank you to all of you.
[01:25:03] Speaker B: Thank you, Blake.
[01:25:04] Speaker A: If you want to be like them and get twice as many nailed episodes, there are now 50 50 bonus episodes where we go beyond the Halos, patreon.com nailed Pod. All of our stuff
[email protected] including our Patreon link merch.
And if you subscribe, you also get access to the discord. You get discounts on all the merch.
[01:25:36] Speaker B: So get in our discord and tell us that we're wrong and that home is God tier.
This is what we talk about all day.
[01:25:43] Speaker A: We talk about that and lots of other topics. Not just nen stuff.
[01:25:48] Speaker B: That's right. And you don't have know pay anything to support us. You could also rate and review us on Apple podcasts.
[01:25:57] Speaker A: That's right. You can give us five stars on Spotify too.
[01:26:00] Speaker B: Has anyone ever replied to that question?
[01:26:02] Speaker A: What question?
[01:26:03] Speaker B: What did you think of this episode? It's on spotify now. Like when you finish an episode, it'll pop up. No, I just wondered because how do I tell? I don't know. That's what I was wondering. Can someone please just respond to that? I really trial to let us know how we get that info.
[01:26:18] Speaker A: I have no idea where it goes from there.
[01:26:20] Speaker B: Yeah, I don't either. So someone if that prompt comes up, I don't know if it's just some.
[01:26:24] Speaker A: Weird do you get it for every podcast?
[01:26:27] Speaker B: Yes.
[01:26:28] Speaker A: Weird. Well, I don't listen to podcasts on Spotify, so I just recently got Spotify for music. So if you can find me on there, you probably can't, but I'm on there somewhere.
[01:26:40] Speaker B: If you're friends with me, they can find you.
[01:26:42] Speaker A: If you're friends with Jessica, find me then.
[01:26:46] Speaker B: I think that's everything, though. Oh, next bonus episode we're going to go over I don't really want to call them B sides, but I do. Okay. We're going to call them. It's Blake's B sides episode.
[01:26:58] Speaker A: B sides rarities with Teeth era.
[01:27:01] Speaker B: So, like, not so pretty now. Not entity. Right where it belongs, version two. Is there anything else? I know there's more.
[01:27:08] Speaker A: There's one that I'm going to make an argument. Could be related.
[01:27:14] Speaker B: What is are you going to say?
[01:27:15] Speaker A: It'll be a surprise.
[01:27:16] Speaker B: Okay. Sounds good.
I think there might be one I'm forgetting.
[01:27:21] Speaker A: Maybe more than one that are tangentially related.
[01:27:24] Speaker B: Okay, I'll have to check my notes. Anyway, that's our next bonus up in the bonus feed. And then on the main feed, we will be wrapping up with Teeth, which is bonkers to think we're wrapping up an album so fast.
[01:27:35] Speaker A: I'm considering personally glad we dragged it out too long with the Fragile.
[01:27:40] Speaker B: There was a lot to cover. There's a lot going on, and it was a huge album.
[01:27:44] Speaker A: Although not one person said like, you took too long. I don't think that's a complaint we've ever got, so that's good, I guess. I'm glad people are cool with it. As long as we take even if.
[01:27:59] Speaker B: I get the lyrics wrong. Harem Springs.
Look, we've all been there, okay? Whatever.
[01:28:07] Speaker A: All right. Thanks for tuning in, everyone.
[01:28:09] Speaker B: Thank you.
You want me to read what I have in my notes or do you have a closing line?
[01:28:14] Speaker A: No, go ahead.
[01:28:15] Speaker B: Okay, hold on.
Bye, bitches. Love you.
[01:28:20] Speaker A: Didn't that make you feel better?
